Thèses sur le sujet « Artz »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleures thèses pour votre recherche sur le sujet « Artz ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Artz, Tim [Verfasser], et Holger [Akademischer Betreuer] Hirsch. « Transiente Einschwingvorgänge in Modenverwirbelungskammern bei Prüfungen mit gepulsten Sinussignalen / Tim Artz ; Betreuer : Holger Hirsch ». Duisburg, 2017. http://d-nb.info/1147681376/34.
Texte intégralArtz, Thomas [Verfasser]. « Determination of Sub-daily Earth Rotation Parameters from VLBI Observations / Thomas Artz. Landwirtschaftliche Fakultät ». Bonn : Universitäts- und Landesbibliothek Bonn, 2011. http://d-nb.info/1017217548/34.
Texte intégralFischer-Mauch, Ute. « Zum Verhältnis Apotheker / Artz in Hessen : Bemühungen in Giessen um eine Novellierung der rechtlichen Grundlagen (um 1700) / ». Stuttgart : Wissenschaftliche Verlagsgesellschaft, 1995. http://catalogue.bnf.fr/ark:/12148/cb39161068w.
Texte intégralArtz, Oliver [Verfasser], Ute [Gutachter] Hoecker, Martin [Gutachter] Huelskamp et Wolfgang [Gutachter] Werr. « On the evolution of light signaling : The COP1/SPA complex in Physcomitrella patens / Oliver Artz ; Gutachter : Ute Hoecker, Martin Huelskamp, Wolfgang Werr ». Köln : Universitäts- und Stadtbibliothek Köln, 2019. http://d-nb.info/1183255659/34.
Texte intégralArtz, Kristin Lena [Verfasser], et Hans Martin [Gutachter] Bosse. « Entwicklung und Erprobung eines bindungsorientierten kombinierten Gruppenprogramms für Eltern und LehrerInnen von Kindern mit ADHS / Kristin Lena Artz ; Gutachter : Hans Martin Bosse ». Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2021. http://d-nb.info/1240901011/34.
Texte intégralArtz, Jens [Verfasser], Regina [Verfasser] Palkovits et Magnus [Verfasser] Rueping. « Modifikation kovalenter triazinbasierter Netzwerke mit Ruthenium und ihre Anwendung als Katalysatoren in der selektiven Oxidation von 5-Hydroxymethylfurfural / Jens Artz, Regina Palkovits, Magnus Rueping ». Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://nbn-resolving.de/urn:nbn:de:hbz:82-rwth-2015-037858.
Texte intégralArtz, Jens Verfasser], Regina [Verfasser] [Palkovits et Magnus [Verfasser] Rueping. « Modifikation kovalenter triazinbasierter Netzwerke mit Ruthenium und ihre Anwendung als Katalysatoren in der selektiven Oxidation von 5-Hydroxymethylfurfural / Jens Artz, Regina Palkovits, Magnus Rueping ». Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://d-nb.info/1128156989/34.
Texte intégralArtz, Sten [Verfasser]. « Nosokomiale Infektionen auf einer interdisziplinären Intensivstation in einem Klinikum der Schwerpunktversorgung : Ein prospektiver Vergleich zweier Patientenpopulationen anhand des Krankenhaus-Infektions-Surveillance-Systems (KISS) / Sten Artz ». Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2008. http://d-nb.info/1022941410/34.
Texte intégralBeauloye, Jennifer. « Arts décoratifs et Art nouveau ». Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209414.
Texte intégralAu point de convergence de deux traditions historiographiques (celle du rapport Art – Industrie et celle de l’Art nouveau), la présente thèse s’attache à démontrer ce phénomène d’autonomisation selon une approche comparée systématique des situations française et belge. Le cadre chronologique débute à l’extrême fin du XVIIIe siècle et s’achève au tout début du XXe siècle, avant que les avant-gardes successives consacrent l’ère machiniste. Au XIXe siècle, dans un équilibre encore délicat entre art, artisanat et industrie, les enjeux économiques, politiques et esthétiques seront successivement débattus par les politiques, les revues d’art et les artistes. La présente thèse s’attache à décrypter, tour à tour, les politiques économiques, les offensives de séduction et les principes esthétiques déployés et mis en œuvre par l’ensemble de ces acteurs de la régénérescence décorative. Pour vérifier leur impact, les discours seront à l’épreuve de la création moderne à travers les exemples de la galerie parisienne de Siegfried Bing et du parcours de l’artiste liégeois Gustave Serrurier. Dans le même élan, sera mis en exergue le processus d’autonomisation qui permettra aux arts décoratifs belges de s’affranchir du modèle français et propulsera Bruxelles en scène décorative moderne qui rivalisera avec Paris.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Dante, Fabrizio <1988>. « Arte Sella e land art ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9756.
Texte intégralRodrigues, Ligia Luciene. « A perpectiva no trabalho de Regina Silveira : uma investigação da perpectiva na arte contemporanea ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284655.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T01:08:39Z (GMT). No. of bitstreams: 1 Rodrigues_LigiaLuciene_M.pdf: 12550285 bytes, checksum: 4f284662bc2db2aca73e8df0bb416bee (MD5) Previous issue date: 2008
Resumo: Esta pesquisa teve por objetivo investigar a utilização da perspectiva na arte contemporânea por meio do trabalho da artista plástica brasileira Regina Silveira. Uma das preocupações foi analisar as questões que estão por trás da presença da perspectiva dentro da produção artística atual, como por exemplo, a crítica à natureza da imagem e seus meios de representação, a manipulação do ponto de vista, a simulação e a ilusão do espaço e ainda como deformação no caso das anamorfoses. Todas essas questões foram permeadas pela teoria da percepção visual e da psicologia da percepção em análises das obras da artista brasileira, seus trabalhos gráficos (desenhos e gravuras), objetos e instalações a partir do final dos anos 70 até os mais atuais, como também os chamados desenhos preparatórios e as maquetes, que são projetos nos quais a artista desenvolve as idéias de seus trabalhos e são neles que mais se percebe a manipulação da perspectiva. Também foram analisados trabalhos de outros artistas que discutiram ou discutem as mesmas questões que a artista brasileira, como por exemplo, Marcel Duchamp e Jan Dibbets. Essa análise mostrou que cada período histórico possui sua visão de mundo e uma maneira de dirigir o olhar para um determinado ponto de vista, portanto uma maneira de utilizar a perspectiva. Nos dias atuais, a subversão do olhar do espectador e, ainda, a destruição da estabilidade de sua percepção causada por essa subversão, fazem da manipulação do ponto de vista a partir do uso da perspectiva, uma atitude contemporânea no trabalho desses artistas
Abstract: This research was intended to investigate the use of perspective in contemporary art through the work of the Brazilian artist Regina Silveira. One of the concerns was the issues behind the presence of perspective within the current artistic production, for example, the critical of the image¿s nature, the resources of representation, the manipulation of viewpoint, the simulation, the space illusion and the deformation as in the case of anamorphosis. All these questions were related to the theory of visual perception and the psychology of perception in analyses of the Regina Silveira¿s work, in graphics (drawings and prints), objects and installations from the end of 70 to the current, but also the called preparatory drawings and models, that are projects in which the artist develops the ideas of their work and more if realizes the manipulation of perspective. Were also analyzed works of other artists who discussed or discuss the same issues as the Silveira, for example, Marcel Duchamp and Jan Dibbets. The analysis showed that each historical period has its vision of the world and to deal the look for a particular viewpoint, so a way to use the perspective. Nowadays, the subversion of the look of the spectator and, yet, the destruction of stability of their perception caused by such subversion, make the manipulation of viewpoint a contemporary attitude in the work of such artists
Mestrado
Mestre em Artes
Pereira, Eliana [UNESP]. « Arte, vida e formação de professores ». Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/86928.
Texte intégralUniversidade Estadual Paulista (UNESP)
Esta pesquisa inicia com uma narrativa autobiográfica, na qual a pesquisadora relata sua prática pedagógica, conta histórias sobre ensinar/aprender e sobre a formação de professores. No decorrer da dissertação, a investigação vai-se adensando, fios vão sendo tecidos para articular as dimensões da vida, da arte, da educação e da práxis política. A narrativa da história de vida, uma das modalidades da pesquisa qualitativa, parte da prática, que é uma forma interessante de pesquisar quando se banha na teoria, porque permite ser revista, superada e propor soluções à luz de novos estudos, que podem trazer ideias renovadas, se submetidas à teorização. O ideário de Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre e Vigostski balizaram a pesquisa. A autora, atuando como Supervisor Escolar da Rede Municipal de Educação de São Paulo, descreve dois processos de formação de gestores educacionais mediados pelas artes visuais em momentos distintos: visitas a museus e a exposições de arte e um encontro de formação com uma imersão na arte contemporânea. Estabelecer ligações entre a vida e a escola, promover reflexões e significação no ato de ensinar e aprender são urgências que se colocam aos educadores. A intenção dessas mediações com arte foi alimentar os sentidos, os sonhos, e promover um distanciamento entre os educadores e a rotina institucional, apostando que num outro tempo, em outro espaço e através da linguagem visual, reflexões pudessem ser mobilizadas e a arte conviesse como metáfora para olhar a vida e a educação. Essa pesquisa em arte/educação possibilitou à pesquisadora estruturar uma metodologia de formação de professores tendo a arte como linguagem mediadora. Grande Área: letras, lingüística e artes
This research begins with an autobiographical narrative, in which the researcher describes their teaching, telling stories about teaching/learning and on teacher training. During the dissertation research will be denser, yarns are being woven to articulate the dimensions of life, art, education, and of praxis politics. The narrative of the life history, a form of qualitative research, part of the practice, which is an interesting way to search when you soak in theory, because it allows to be revised, to surmount and propose solutions in light of new studies that can bring ideas renewed, is subject to theory. The ideas of Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre and Vigostski guiding the research. The author, serving as Supervisor of the Municipal Schools of São Paulo, describes two processes of educational management training mediated by the visual arts in different times: visits to museums and art exhibitions and a meeting with an immersion training in contemporary art. Making connections between life and school, to promote reflection and meaning in the act of teaching and learning are emergencies that arise for educators. The intent of these mediations with art was feeding the senses, dreams, and promote a gap between educators and the institutional routine, betting that in another time, another space and through visual language, thinking and art could be mobilized as a metaphor suited to look at life and education. This research in art/education enabled the researcher to structure a training methodology for teachers taking art as a language mediator
Puig, Mestres Luis Eloy. « ALEAR : Arte procesual-arte aleatorio. La aleatoriedad en el "computer art" ». Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/1262.
Texte intégral1ª aproximación.- "Alear v_cd" se trata de un proyecto "reactivo" presentado en CD-Rom. En él no hay interacción, la máquina es quien decide todo el desarrollo de la pieza. Es una interpretación sobre diversos conceptos de la comunicación representados a través de factores aleatorios que determinarán una visualización única para cada vez que se ejecute, sin que los contenidos narrativos varíen.
2ª aproximación.- "Alear v_shots" es una edición en forma de libro de una selección de screenshots de "Alear v_cd", unas imágenes realizadas previamente al desarrollo del ejecutable y unos textos literarios adaptados a las narraciones visuales.
3ª aproximación.- "Alear Arte procesual-aleatorio" La aleatoriedad en el Computer-art es un estudio teórico y reflexivo sobre la aleatoriedad aplicada al Computer-art, incluyendo el análisis de textos y obras de otros artistas y científicos que han utilizado el concepto del azar para articular sus propios trabajos y reflexionar sobre la complejidad de nuestra realidad.
Si en épocas anteriores lo caótico, lo irregular era un referente poco sugerente, ahora con el ordenador y con una sencilla operación matemática que pueda generar aleatoriedad, ha pasado a ser un elemento crucial para entender la actualidad del arte contemporáneo. Esta tesis pretende introducir y estudiar aplicaciones artísticas y variantes teóricas derivadas de la presencia asombrosamente grande y multiforme de lo computacional, del cálculo numérico y la aleatoriedad en nuestro entorno creativo contemporáneo, y observar cómo se han convertido en un medio poderosamente condicionador de nuestras actividades artísticas.
En un primer bloque. se reflexiona entorno al azar desde la perspectiva científica, tecnológica, musical y literaria. El segundo bloque se centra en el territorio propio del Computer-art para analizar su relación con los componentes aleatorios, ver cuando se origina esa relación y porqué. "procesual-aleatorio" surge de la necesidad de dar un nombre clasificatorio al conjunto de trabajos que por un lado utilizan el microprocesador como elemento básico para su desarrollo y ejecución, y por otro lado, al conjunto que incorpora componentes aleatorios y que lo dotarán de un carácter diferenciador. Para demostrar que esta categorización estética no surge solamente por una determinación técnica, se determinan las principales características de esta nueva tipología de trabajos.
What kind of relation exists between the computer and the chance? In which way the computer uses a random components? How the Computer-art uses the chance to develop creative projects? Until which point the chance has determined the development of the Computer-art? This thesis is segmented in three approaches.
1ª approach. - "Alear v_cd" is a "reactive" presented project in CD-Rom. There is no interaction; the machine is the one that decides all the development of the piece. It is an interpretation from diverse represented concepts of the communication through random factors that will determine a unique visualization whenever it is executed, without any variety of the narrative contents.
2ª approach. - "Alear v_shots" is an edition in the form of a book with a selection of screenshots " Alear v_cd", images made previously to the development of feasible and literary texts adapted to the visual narrations.
3ª approach. - "Alear procesual-random Art" the randomness in the Computer-art is a theoretical and reflective study of the randomness applied to the Computer-art, including the analysis of texts and works of other artists and scientists who have used the concept of the chance to articulate their own works and to reflect on the complexity of our reality.
If the chaotic thing, the irregular thing was a reference merely suggestive in the previous times, the computer and one simple mathematical operation that can generate randomness becomes a crucial element to understand the present time of the contemporary art.
This thesis tries to introduce and study the artistic applications and theoretical varieties derived from the amazingly vast presence and multiform of the computational, the numerical calculation and the randomness in our contemporary creative surroundings, and to observe how they have become a powerful medium that conditions our artistic activities.
Nunes, Fábio Oliveira. « Ctrl+art+del : contexto, arte e tecnologia ». Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-05072009-202105/.
Texte intégralThis work is a reflection about a new media art production which the context in different forms social, public, technological or economic is elemental part proposition. Interest us to explore what situations the technological art will act in quotidian questions and technology. Therefore, this way is supported initially in Nicolas Bourriauds theory Relational Aesthetics and also, in second moment, in several artistic strategies of intervention or transgression against homogeneous media use. The research contemplate analysis of national and foreign artworks, inside of scope marked, and resulted also in elaboration of two practical projects in development with the artist Edgar Franco, the web site Freakpedia e o Project Vislumbres Pós-humanos.
Sanfelice, Sabrina. « Diálogos contemporâneos entre arte e fotografia = um percurso pelas obras de Vik Muniz ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284453.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T08:56:12Z (GMT). No. of bitstreams: 1 Sanfelice_Sabrina_M.pdf: 14466365 bytes, checksum: 13b8618271df1475314260b8dc7fd6ba (MD5) Previous issue date: 2011
Resumo: O objetivo central desta pesquisa está voltado para o estudo da fotografia no campo da arte contemporânea, partindo da vida e das obras do artista Vik Muniz, também conhecido como "Vik". O estudo propõe um diálogo entre as artes plásticas e a fotografia contemporânea, baseado numa reflexão teórica e conceituação de suas diversas modalidades, encontrado em seus trabalhos. Para atingir o objetivo proposto, a pesquisa será dividida entre a vida do autor e as influências artísticas que o levaram a encontrar na fotografia não apenas um suporte para suas obras, mas um meio de coexistir entre a arte e o efêmero através dos tempos. Para isso, faremos também um percurso cronológico de aspectos encontrados em seus trabalhos que justifiquem o uso da fotografia contemporânea conectado com outros segmentos das artes visuais. Num segundo momento, cinco de suas principais obras são escolhidas para mostrar alguns importantes papéis da fotografia contemporânea vistos em seus trabalhos - como, por exemplo, sua capacidade de criar ilusões a partir de técnicas utilizadas em seu processo criativo, confundindo os olhos do observador dependendo da posição pela qual é vista ou a possibilidade de levar a arte até seu público, já que muitas delas, devido ao seu tamanho ou efemeridade, não poderiam ser expostas ou vistas com facilidade. Diferentes formas de apresentação são exibidas em contextos que promovem uma reorganização não apenas no espírito do que foi instituído como fotográfico, mas também na relação do observador com a imagem
Abstract: The main purpose of this research is the study of photography in the field of contemporary art, from the life and works of the artist Vik Muniz, also known as Vik. The study proposed a dialogue between the visual arts and contemporary photography, based upon a theoretical reflection and appraisal of its various forms found in the work of Vik Muniz. In order to attain the proposed objective, the research will be divided between the life of the artist and the artistic influences that led him to discover in photography not only support for his works, but a means to co-exist between art and the ephemeral throughout time. For this, we will also take a chronological journey through the aspects found in Vik' work that justify the use of contemporary photography in connection with other segments of the visual arts. In the second part of this research, five of Vik' principal pieces are chosen in order to illustrate the important role of contemporary photography in his work - such as his capacity to create illusions from the techniques used in his creative process, confusing the eyes of the observer, depending on his or her point of view. He also had the ability to take art to his public, since many of his works, due to their size or ephemeral qualities, were unable to be exposed or viewed easily. Different forms of presentation are shown in contexts that promote a reorganization of not only the spirit that was instituted as photographic, but also in the relationship between the observer and the image
Mestrado
Multimeios
Mestre em Multimeios
Pereira, Eliana. « Arte, vida e formação de professores / ». São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/86928.
Texte intégralBanca: Luiza Helena da Silva Christov
Banca: Ana Maria Di Grado Hessel
Resumo: Esta pesquisa inicia com uma narrativa autobiográfica, na qual a pesquisadora relata sua prática pedagógica, conta histórias sobre ensinar/aprender e sobre a formação de professores. No decorrer da dissertação, a investigação vai-se adensando, fios vão sendo tecidos para articular as dimensões da vida, da arte, da educação e da práxis política. A narrativa da história de vida, uma das modalidades da pesquisa qualitativa, parte da prática, que é uma forma interessante de pesquisar quando se banha na teoria, porque permite ser revista, superada e propor soluções à luz de novos estudos, que podem trazer ideias renovadas, se submetidas à teorização. O ideário de Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre e Vigostski balizaram a pesquisa. A autora, atuando como Supervisor Escolar da Rede Municipal de Educação de São Paulo, descreve dois processos de formação de gestores educacionais mediados pelas artes visuais em momentos distintos: visitas a museus e a exposições de arte e um encontro de formação com uma imersão na arte contemporânea. Estabelecer ligações entre a vida e a escola, promover reflexões e significação no ato de ensinar e aprender são urgências que se colocam aos educadores. A intenção dessas mediações com arte foi alimentar os sentidos, os sonhos, e promover um distanciamento entre os educadores e a rotina institucional, apostando que num outro tempo, em outro espaço e através da linguagem visual, reflexões pudessem ser mobilizadas e a arte conviesse como metáfora para olhar a vida e a educação. Essa pesquisa em arte/educação possibilitou à pesquisadora estruturar uma metodologia de formação de professores tendo a arte como linguagem mediadora. Grande Área: letras, lingüística e artes
Abstract: This research begins with an autobiographical narrative, in which the researcher describes their teaching, telling stories about teaching/learning and on teacher training. During the dissertation research will be denser, yarns are being woven to articulate the dimensions of life, art, education, and of praxis politics. The narrative of the life history, a form of qualitative research, part of the practice, which is an interesting way to search when you soak in theory, because it allows to be revised, to surmount and propose solutions in light of new studies that can bring ideas renewed, is subject to theory. The ideas of Paulo Freire, Ana Mae Barbosa, Rejane Coutinho, John Dewey, Jorge Larrosa, Imanol Aguirre and Vigostski guiding the research. The author, serving as Supervisor of the Municipal Schools of São Paulo, describes two processes of educational management training mediated by the visual arts in different times: visits to museums and art exhibitions and a meeting with an immersion training in contemporary art. Making connections between life and school, to promote reflection and meaning in the act of teaching and learning are emergencies that arise for educators. The intent of these mediations with art was feeding the senses, dreams, and promote a gap between educators and the institutional routine, betting that in another time, another space and through visual language, thinking and art could be mobilized as a metaphor suited to look at life and education. This research in art/education enabled the researcher to structure a training methodology for teachers taking art as a language mediator
Mestre
Batistin, Fabíola. « Imagens e metáforas : a (re)construção do trajeto e da história de uma arte-educadora / ». São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/90993.
Texte intégralResumo: Essa dissertação apresenta a reflexão sobre minhas experiências com o ensino e aprendizado em arte permitindo a (re) construção da trajetória como arte educadora e arquiteta que escolheu a profissão de professora de história da arte. Este trabalho concentra-se no efetivo encontro entre a sensibilidade, a intuição e o olhar reflexivo de alunos e professora, por meio das descobertas que ocorrem durante os projetos de ensinar e de aprender já realizados. Busca a construção do conhecimento sustentado na experiência de fruir e poetizar arte e na integração desse cotidiano no interior do ambiente universitário. Propõe uma reflexão entre arte-educação, seu ensino e aprendizado enfatizando o gesto criador, o despontar do olhar sensibilizado para as artes plásticas e a concepção das leituras de obras como processo de compreensão do mundo, desmistificando a obra de arte como objeto inatingível e de poucos.
Abstract: This dissertation shows a research about experiences and livings on the teaching and learning in art, which focus is the creation of path like education art teacher, of an architect that chose the profession of art teacher. This work has focus on the effective meeting among the sensibility, the intuition and the reflexive glance of students and teacher, through of discoveries that occurred during the projects realized. The works searches the creation of knowledge suppoted by the flow experience and to transform art in poetry and to ingrate this daily through of university environment. However, the work intends a reflection among education art, its teaching and learning put emphasis in the creative action, the emerging sensitive glance to the plastic arts an the conception of readings of works like world understanding process, taking ou the mystic of art work as a distant thing for a select group.
Mestre
Johnston, Jerre Lynn. « ART CRITICISM : A "READING" OF THE VISUAL ARTS ». Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.
Texte intégralDe, Conti Diana <1987>. « Commistioni tra arte e suono : la Sound Art ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4488.
Texte intégralPessi, Maria Cristina Alves dos Santos. « Illustro imago : professoras de arte e seus universos de imagens ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-10112010-114709/.
Texte intégralWhich images do art teachers select to present to their students? This question unfolds itself into many other questions, searches for images used by art teachers and takes the image itself as object and substance of research. The text places the issue on the historical and conceptual panorama around art and education, treating the image reading antecedents in the light of modern art and the disclosing of image reading in art education. Through bibliographical research, the questions about modern and post-modern thinking are approached, focusing art itself. The photographical images produced in the field research are considered visual texts and, therefore, data source as well. They have been appreciated according to the studium and punctum concepts by Roland Barthes and evaluation criteria of an Arts-Based Educational Research proposal by Elliot Eisner. The images thereby presented contribute to a reflection about the issues evidenced on the thesis.
Sans, Paulo de Tarso Cheida. « Trajetórias e vicinalidades = entre a gravura, o objeto e a instalação ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284482.
Texte intégralTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T07:35:11Z (GMT). No. of bitstreams: 1 Sans_PaulodeTarsoCheida_D.pdf: 4836600 bytes, checksum: 0e77c3ef110589288a8abe105cf1b0df (MD5) Previous issue date: 2009
Resumo: Esta pesquisa em Arte é sobre a realização de uma produção artística que permeia a gravura, o objeto e a instalação. As obras foram criadas a partir da análise da produção do autor, verificando as principais características técnicas e elementos conceituais de suas obras mais recentes. Para embasamento dos processos criativos foram escolhidos quatro artistas contemporâneos brasileiros, Antonio Henrique Amaral, Arthur Bispo do Rosário, Luise Weiss e Rubem Valentim, que apresentam distintas temáticas que serviram como sintonia para a criação das obras híbridas realizadas pelo autor. As questões teóricas e processuais são estudadas, resultando numa análise reflexiva sobre a poética visual proposta
Abstract: This Art research is about the execution of an artistic production which approaches engraving, object and instalation. The artworks had been created from the analysis of the author's production, verifying the main technical characteristics and conceptual elements from his more recent artworks. As basis for the creative processes were chosen four Brazilian contemporary artists, Antonio Henrique Amaral, Arthur Bispo do Rosário, Luise Weiss and Rubem Valentim, who presents distinct thematics which had served as linking to the creation of the hybrid artworks carried through by the author. The theoretical and procedural questions are studied, as a result of a reflexive analysis about the poetic's visual proposed
Doutorado
Doutor em Artes
Menéndez, Iglesias Beatriz. « El conjunto de grabados rupestres de la región de El Arenoso-El Sásabe (Sonora, México). Contextualización tipológica y crono-cultural ». Doctoral thesis, Universitat Rovira i Virgili, 2018. http://hdl.handle.net/10803/665069.
Texte intégralLa presente tesis se centra en el estudio de ocho conjuntos de arte rupestre (grabados prehistóricos y prehispánicos) descubiertos por el proyecto: Poblamiento Temprano en el Noroeste de Sonora (PTNOS) y dirigido por el Instituto de Investigaciones Antropológicas de la UNAM (México), en donde participa un equipo del Institut Català de Paleoecologia Humana i Evolució Social (IPHES, Tarragona). El área de estudio se halla en la región de El Arenoso-El Sásabe (Sonora, México); desde el punto de vista arqueológico una zona prácticamente desconocida. La investigación aporta la documentación y clasificación de 241 rocas con un total de 1492 representaciones figurativas y abstractas. Las reproducciones digitales, para este trabajo, se han realizado mediante programas digitales, Photoshop y DStretch para ImageJ. La aplicación de estos métodos ha mejorado, notablemente, la observación, descripción y clasificación de las imágenes grabadas, por otro lado, hemos creado una base de datos y renovado la antigua tipología, esencial para establecer analogías con otros conjuntos de arte rupestre y poder profundizar en los patrones y modelos de distribución, de esta iconografía prehistórica y prehispánica del Noroeste de México y el Suroeste de Estados Unidos. La tesis aporta y valora la información sobre los nuevos hallazgos arqueológicos en la región, localizados durante las temporadas del proyecto PTNOS, y la investigación replantea una hipótesis de trabajo, con la ampliación del marco crono-cultural para el origen y desarrollo de estos conjuntos rupestres, que, por el momento situamos, entre el final del periodo Arcaico (primeros milenios a.C.) y la aparición de la Agricultura temprana y la cultura cerros Trincheras (siglos II-XV).
This PhD focuses on the study of eight sets of rock art (prehistoric and prehispanic engravings) discovered by the project: Poblamiento Temprano en el Noroeste de Sonora (PTNOS) and directed by the Instituto de Investigaciones Antropológicas de la UNAM (Mexico), in which a team from the Institut Català de Paleoecologia Humana i Evolució Social (IPHES, Tarragona) participates. The area of study is in the region of El Arenoso-El Sásabe (Sonora, Mexico); from an archaeological point of view an almost unknown area. The research provides documentation and classification of 241 rocks with a total of 1492 figurative and abstract representations. The digital reproductions, for this work, have been made using digital programs, Photoshop and DStrecht for ImageJ. The application of these methods has significantly improved the observation, description and classification of the recorded images. On the other hand, we have created a database and renewed the old typology, essential to establish analogies with other sets of rock art and be able to delve deeper into the patterns and distribution models of this prehistoric and prehispanic iconography of Northwest Mexico and the Southwest of the United States. The thesis provides and evaluates information on the new archaeological findings in the region, located during the seasons of the PTNOS project, and the research rethinks a working hypothesis, with the extension of the chrono-cultural framework for the origin and development of these cave complexes, which, for the time being, are situated between the end of the Archaic period (first millennia B.C.) and the appearance of early agriculture and the culture of the Trincheras hills (2nd-15th centuries A.D.).
Ribeiro, Lindsay Caroline de Brito. « Corpo delével : uma poética da autoimagem distorcida ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284602.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T07:36:25Z (GMT). No. of bitstreams: 1 Ribeiro_LindsayCarolinedeBrito_M.pdf: 125254615 bytes, checksum: a4b3389170cb274dc99bcee0a1d89c26 (MD5) Previous issue date: 2012
Resumo: Esta dissertação, inserida na linha de pesquisa em "Poéticas Visuais e Processos de Criação", consiste num relacionamento entre pesquisas prática e teórica, incluindo uma análise crítica através de textos sobre minha produção plástica que tem ênfase na problemática da autoimagem, uma distorção da aparência física, que surge como mais um sintoma das neuroses contemporâneas, acometendo, principalmente, as adolescentes que aspiram a um corpo construído, alimentado pelos sistemas da moda e do consumo. Considera ainda a ideia do desenho como conceito de intertextualidade e relaciona, entre os procedimentos e possibilidades de concepção e produção dos trabalhos, essas questões do corpo conexas à ordem cotidiana, à "brevidade e fragilidade da vida", refletidas nessa estética do corpo contemporâneo. O corpus imagético dessa pesquisa torna-se um elemento problematizador de articulações crítico reflexivas, envolvendo a ampliação de repertório na área da arte contemporânea
Abstract: This dissertation, part of the "Visual Poetics and Creation Processes" line of research, focus on the relationship between practical and theoretical research, including a critical analysis of texts about my artistic production that has an emphasis on the issue of self-image, a distortion of physical appearance, which arises as another symptom of contemporary neuroses, having as main target those teenagers who aspire to an artificial body, powered by systems of fashion and consumption. It also considers the idea of drawing as a concept of intertextuality and links between the procedures and possibilities for design and production work, these body issues related to the everyday routine, the "brevity and fragility of life", reflected in this contemporary aesthetics of the body. The image corpus of this research becomes a problematizing element of critical reflective relations, involving the expansion of the repertoire in the field of contemporary art
Mestrado
Artes Visuais
Mestre em Artes Visuais
Betts, John David. « Art as mediation for learning : The Arts Integration Program ». Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186865.
Texte intégralGazzola, Mariangela <1988>. « TRASH ART : rifiuti e ricicli nelle arti visive contemporanee ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4153.
Texte intégralLima, Caminha Melissa. « Payasas : Historias, Cuerpos y Formas de Representar la Comicidad desde una Perspectiva de Género ». Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400011.
Texte intégralIn my PhD research, I do a genealogical study of the female clown figure, from an interdisciplinary approach that engages in a dialogue between clownery and others artistic and theoretical disciplines, like the Visual Arts, Performance Studies, Arts Education, Critical Theory, Feminisms, Queer and Crip Theories. The genealogical study is based on a field research in which I conducted interviews with women clowns, participated in women’s clown festivals, documental research, gender criticism and analyses. The research ends up inquiring about the diversity of bodies and forms in the fields of laughter and comicality, displacing the initial woman and gender question to a more central, yet very related one: the human question. From a feminist-queer-crip-clown approach, I suggest new theoretical figurations that can serve as critical and analytical tools to comprehend our subjectivity as a becoming project. A becoming project that we can stablish not just with the different external Others, but also with the potential and possible others that exist in each one of us. I also try to stablish artistic and political “clown_tacts” and “clown_laborations” between diverse subjects and knowledge fields engaged in the artistic creation of new possible worlds. Clowntacts and clownlaborations that are able to develop creative pedagogies and politics that serve a democratic project based on the new approaches on posthuman ethics. The research process directly influence the construction of my subjectivity and identity as artvist, educador and researcher, marked by several affinities and affects, embodied in the following projects: Cunt Clown Show, TransClowning and Belly.Breast_Mama.Monster.Clown.
López, Aguayo Josefina. « Instalaciones artísticas de interacción : el espacio de la metáfora ». Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/384322.
Texte intégralInteractive art installations, a novel form of expression, have their roots in experimental art forms from the first decades of the XXth century. Thanks to recent developments in robotics, artificial intelligence and neuroscience, such installations have reached a new, highly sophis-ticated level of human-machine interactions. For such 'intelligent' spaces I use the term: Performative-Interactive Art Installations (P-IAIs). Due to the relative novelty of P-IAIs, there are no studies analyzing them from the human agent's perspective so far. For this purpose, I have reviewed the utility of three related cognitive linguistics frameworks: the Conceptual Metaphor Theory (Lakoff and Johnson), image schemas (Johnson) and the Conceptual Integration (Blending) Theory (Fauconnier and Turner) using twelve P-IAIs. The symbolic meanings of the analyzed P-IAIs have been converted into linguistics metaphors using Lakoffian models, which has turned out to be a useful but incomplete approach. The understanding of P-IAIs was subsequently improved by using tools from the Blending Theory (BT). BT combines present and the past contextual information of the agent, highlighting compression of vital relationships between these input mental spaces and producing so called blend. The study analyzes agent's sensorial processes (in particular: sensorimotor), perception, metaphor processing and emotional responses. The main results are: (i) automatic sensorimotor reactions invoked by the relevant subset of analyzed P-IAIs are important for understanding the implications of such P-IAIs; (ii) such installations induce sensorial and subsequent perceptive changes within the agent specific to P-IAIs. Finally, I propose that the Conceptual Integration Theory is an useful tool for interpreting agent's cognitive responses to IAI-P.
Thomaz, Andrei Rubina. « O tabuleiro dos jogos que se bifurcam : as manifestações do labirinto nos jogos eletrônicos ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01102009-152656/.
Texte intégralThis research is concerned with the ocurrences of labyrinths in electronic games, continuing our studies related to labyrinths and our artistic work in new media. The work done comprises two parts; the first one theoretical, where we revised selected references about the labyrinth, aiming to collect elements to analyse the ocurrences of labyrinths in electronic games. This analysis was performed in spacial and temporal terms, comprising two chapters of this dissertation, with the support of studies related to electronic games and literary and cinematographical references. In the artistic part, we developed nine works, using digital media, that are related, somehow, with the subject of this reasearch. These works are introduced along the dissertation, with a short text about each one, where we evidence the dialog between them and electronic games, as well as with artistic, literary, cinematographical and theoretical references.
Batistin, Fabíola [UNESP]. « Imagens e metáforas : a (re)construção do trajeto e da história de uma arte-educadora ». Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/90993.
Texte intégralCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Essa dissertação apresenta a reflexão sobre minhas experiências com o ensino e aprendizado em arte permitindo a (re) construção da trajetória como arte educadora e arquiteta que escolheu a profissão de professora de história da arte. Este trabalho concentra-se no efetivo encontro entre a sensibilidade, a intuição e o olhar reflexivo de alunos e professora, por meio das descobertas que ocorrem durante os projetos de ensinar e de aprender já realizados. Busca a construção do conhecimento sustentado na experiência de fruir e poetizar arte e na integração desse cotidiano no interior do ambiente universitário. Propõe uma reflexão entre arte-educação, seu ensino e aprendizado enfatizando o gesto criador, o despontar do olhar sensibilizado para as artes plásticas e a concepção das leituras de obras como processo de compreensão do mundo, desmistificando a obra de arte como objeto inatingível e de poucos.
This dissertation shows a research about experiences and livings on the teaching and learning in art, which focus is the creation of path like education art teacher, of an architect that chose the profession of art teacher. This work has focus on the effective meeting among the sensibility, the intuition and the reflexive glance of students and teacher, through of discoveries that occurred during the projects realized. The works searches the creation of knowledge suppoted by the flow experience and to transform art in poetry and to ingrate this daily through of university environment. However, the work intends a reflection among education art, its teaching and learning put emphasis in the creative action, the emerging sensitive glance to the plastic arts an the conception of readings of works like world understanding process, taking ou the mystic of art work as a distant thing for a select group.
Perissinotto, Paula Monseff. « "O Cinestimo Interativo nas Artes Plásticas : Um trajeto para a Arte Tecnológica" ». Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-31032004-214306/.
Texte intégralAbstract This study intends to analyze the relationship between visual arts, science and technology. Its initial reference is the idea written by two Russian Constructivist artists, Naum Gabo and Anton Pevsner, in the Realist Manifesto, in 1920. The two artist, that were also brothers, were trying to free visual arts of its static art's stigma. For that, this research followed some artists' itinerary that developed researches with this approach in the 20th century, such as Archipenko, Duchamp, Flatters, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Reads Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, and Jeffrey Shaw. This work went trough the kinetic art history and examined artists that have explored the interaction pointing in their works (the perceptive interaction, the space interaction and the new potential interaction that appeared from the relationship between art and technology), and examined as well as artists that have found solutions in others discipline, such as science. The complexity of this interdisciplinary relationship created formal, structural and aesthetic concepts changes in the art world. Finally, the study also focuses in how the artists adhesion to new technologies provoked transformations in the institutions that motivates and promotes the contemporary visual arts.
Nunes, Gabriel Brito. « f l æ s h - corpo e/é imagem ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21052013-092230/.
Texte intégralConsidering the body as the central element of the discipline of performance art, the following paper seeks to comprehend the nature of the space opened by this artistic disciplino to the corporeal presence in relation to the new condition of the image - when it longer corresponds to a physical referent outside itself, but represents a concatenation of the image, Also, this research aims to critically explore the chalenges inflicted on the body by the institucionalization of performance art through the hierarchical and archiving process of institutional documentation. This dissertation is based on a format that considers writing to be a performace and is thus highly and intentionally invested with the projections and particularities of a specific body - that of this author and performer. Besides, this written research is developed from an in intimate relation to the artistic practices conceivid during the period of two years´s performance acts - as well as, you, the spectator of this performance act - is also seen as particular body - which gives meaning to the artistic object through the contingency of the interpretation of the corporeal representation, Finally this research uses a dicussion about the body - which intends to experience it while minimally distancing oneself from it - in order to reach that part of the body from which it is impossible do disassociate: flesh.
Gasol, Señorón Daniel. « Arte emergente : creación en Barcelona ». Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285049.
Texte intégralThis thesis seeks to inquire into the dynamics of visibility and legitimacy of the emerging art making from the context Barcelona, ways to intervene in the forms of subjectivity of the creators. It performs a reflextion theoretically, moves between the “Institutional critique” and generational approach to young artists about the Institucionalization legitimizing their work, giving the work a personal approval on its production. The idea of cultural production or creation of work is based on a list of items that define and contextualize to become Art. These items of which we speak are several elements that depart from the context in which this production is carried out, to the art of formalization. However, in this thesis we intentd to also settle on relfection whiy is Art and that what we call Art? It is important to know and study how communication systems, and therefore the media coverage have set ways of seeing and understanding reality have influencied the contemporary Art, and more specifically the emergint art as a phenomenon of effervescence consisting of individuals who have grouwn up with the media, and have assimilated communicative facts based on the visibility and power.
Nannini, Priscilla Barranqueiros Ramos [UNESP]. « Ilustração : passeio pela poesia visual ». Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86984.
Texte intégralCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
Whelan, Leslie Michael. « Elementary teachers, art education, and arts networking : a comparative study ». Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26625.
Texte intégralEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Dunfee, Melissa Catherine. « Financial Challenges of New Media Art in Contemporary Arts Institutions ». University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1487646333901318.
Texte intégralRiedel, Elisabeth. « "Variations on art" : Aldous Huxley's reflections on the visual arts / ». Salzburg : Institut für Anglistik und Amerikanistik, Universität Salzburg, 1992. http://catalogue.bnf.fr/ark:/12148/cb35604059q.
Texte intégralBoggs, James G. « Social application of the arts : making a difference through art / ». Thesis, Connect to this title online ; UW restricted, 2001. http://hdl.handle.net/1773/6177.
Texte intégralDarweesh, Ali Hussain. « The Enameling Arts in Kuwaiti Pre-service Art Teacher Education ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28410/.
Texte intégralSmith, Joy Topaz 1971. « A Saturday Youth Arts Program : Implications for preservice art education ». Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291373.
Texte intégralHannouch, Hanin Issa. « Art history as Janus : Sergei Eisenstein on the visual arts ». Thesis, IMT Alti Studi Lucca, 2017. http://e-theses.imtlucca.it/235/1/Hannouch_phdthesis.pdf.
Texte intégralTOMASSINI, MARCO. « BEAUTIFUL WINNERS : LA STREET ART TRA UNDERGROUND, ARTE E MERCATO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/789.
Texte intégralStreet art has always been associated with underground phenomena like sub or counter-cultures. But, especially during the last ten years, many street artists got more and more involved in the institutional field of cultural production, also working for marketing, advertising and graphic design agencies. Starting from a perspective close to the theories of cultural production, the dissertation focused on the social, cultural and economic transformations that have contributed to such an “explosion” of the street art movement. At the same time, using a “grounded” approach, it studied the contemporary world of the Italian street art, as a field crossed by my many tensions, generated by a different distribution of what Pierre Bourdieu defined “social capital”.
TOMASSINI, MARCO. « BEAUTIFUL WINNERS : LA STREET ART TRA UNDERGROUND, ARTE E MERCATO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/789.
Texte intégralStreet art has always been associated with underground phenomena like sub or counter-cultures. But, especially during the last ten years, many street artists got more and more involved in the institutional field of cultural production, also working for marketing, advertising and graphic design agencies. Starting from a perspective close to the theories of cultural production, the dissertation focused on the social, cultural and economic transformations that have contributed to such an “explosion” of the street art movement. At the same time, using a “grounded” approach, it studied the contemporary world of the Italian street art, as a field crossed by my many tensions, generated by a different distribution of what Pierre Bourdieu defined “social capital”.
Lombao, Méndez Sonia. « El arte de acción en Catalunya. Jordi Benito y su contexto ». Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/286730.
Texte intégralThis doctoral thesis proposes a new study of the performances done by the Catalan artists during the seventies. I am not only interested on the formal aspects, but mainly, on the analysis of the cultural, political and intellectual context in which this performances where produced. For this analysis I have used various sources, such as the articles of Alexandre Cirici in the local newspapers and publications of the time, as J. J. Lebel’s Le happening, which worked as sources of the diffusion of the performance art in the Catalan context. I have studied as well later sources as Teresa Camps’ criticisms, among others. With all this information I have tried to establish a general patterns of study of the Catalan performance art. These guidelines confirm that the Catalan performances have a series of cultural reference points,which come from the North American, German and French contexts. These reference points have a common base, rooted, firstly, in the philosophy of language, and secondly, in the critique of the idea of progress -associated to the control exercised by governments in late capitalist societies - defended by the Situationists. I have attempted to explain the emergence of performance art following M. Foucault recommendation of focusing more in the immediate context - national and international –rather than establishing connections with previous movements. Among the Catalan artists stands out the figure of Jordi Benito. He started as one of the most radical and impressive actionists, but what results more interesting is that he evolved to move away from the main tendencies. I interpret this detachment as a demonstration of his disenchantment with the political realignment produced by the Transition process to democracy, which took place during this time. Performances produced by Benito during this time constitute a great challenge for art criticism.
Cattani, Laura. « O estranho equívoco de A. Hilzendeger Feltes : a convergência de narrativas incompossíveis ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/66675.
Texte intégralThis dissertation aims to form the foundation and structure of an operational mode for understanding creative work that is based on a fusion of languages in creating an artistic narrative in the form of a site-work (www.io.art.br). It is therefore based on a set of concepts that together enable an approach to this object of study, the production of creative work in the form of a website, structured into non-linear narratives that are interconnected and acquire new scales of meaning in a multiple and fragmented structure. It seeks to address the proposed work in the light of different concepts, such as narrative, its origins in oral and literary narration, passing through cinematography and introducing a view of the principles of montage in the construction of mental narratives. It refers to the image of the labyrinth as a way of understanding a structure of navigation along multiple routes and considers some possible views about works in telematics networks, in particular the principles governing hypertextuality and non-linearity. It also investigates rhizome theory as an enabler of connections and developments; slime mold, through its agglutination of elements into a group that acts and moves as a single unit and also allows propagation into new groupings; and the torus, through its ability to give three-dimensionality to the movements provided by the web. Finally, it analyses the concept of Convergence, particularly in terms of interactivity and insertion of web-art proposals into a context beyond the web. This final concept is seen to be a suitable instrument for encompassing the others, and allows an approach to the developed art proposal.
Gnezdilova, Anastasia. « Sculptor Nina Slobodinskaya (1898-1984). Life and search of creative boundaries in the Soviet epoch ». Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/334701.
Texte intégralAquesta tesi doctoral estudia l’obra de Nina Konradovna Slobodinskaya (1898-1984), escultora a l’època soviètica. La seva obra creativa abraça més de 50 anys i inclou totes les tendències artístiques, temes actuals i tota classe de gèneres culturals en el període més contradictori i sanguinari de l’art rus del segle XX. Nina Slobodinskaya és una artista del seu temps, que va reaccionar als reptes del moment i que va saber reflectir-ho en les seves obres. No obstant, encara que es trobés immersa en plena era soviètica, va crear de manera independent, escollint temes humanistes i atemporals. Com que va seguir les seves pròpies inclinacions artístiques, va contradir les estrictes normes soviètiques, es va oposar a seguir els dictàmens artístics de l’Estat, i això va fer que se la menystingués i se la ignorés, i va caure a l’oblit. D’origen noble i pertanyent al cercle d’artistes, filosofs, esculptors i escriptors de l’ elit cultural russa, va saber captar i transmetre els seus valors i la seva visió del món a les seves escultures; les va enriquir amb un profund contingut simbòlic i espiritual. D’aquesta manera descobrim una escultora amb una visió artística pròpia i un estil individual que ens porta a entreveure creences espirituals i filosòfiques, inherents a la tradició russa, que pel seu sistema de valors encara pertanyia a la Rússia imperial que, per tant, va estar condemnada a l’extermini per les polítiques de Lenin i Stalin
Neves, M?rcia de Lima Carneiro. « Afetividade e express?o art?stica na escola : como os arte-educadores encaram o papel da arte ». Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2009. http://tede2.pucrs.br/tede2/handle/tede/3580.
Texte intégralTodo comportamento humano ? tecido nas tramas da afetividade e da racionalidade. Assim como na vida, na escola as emo??es tamb?m desempenham um papel fundamental, motivo pelo qual a presente disserta??o procurou salientar a import?ncia das viv?ncias emocionais e afetivas para o desenvolvimento do ser humano. As emo??es conferem sentido aos relacionamentos e aos acontecimentos. Propomos uma educa??o escolar comprometida com a forma??o de pessoas livres, ?ntegras, criativas e amorosas, cuja exist?ncia seja alicer?ada nos princ?pios da igualdade, da justi?a e da coopera??o. Conhecer ? pensar, criar, descobrir e conectar as caracter?sticas dos objetos, recompondo, mediante a capacidade criadora, o real externo dentro da mente. A aquisi??o do conhecimento e seu aprimoramento, a potencialidade do aluno para saber enfrentar e solucionar problemas e conflitos, a constru??o de um esp?rito cr?tico e criativo para enfrentar o futuro s?o, sem d?vida, necess?rios, mas nos preocupamos com o que ? mais importante: dar condi??es ao aluno de viver plenamente e ser feliz. O embasamento do presente trabalho seleciona elementos hist?rico-culturais de Vygotsky, psicanal?ticos freudianos, da epistemologia gen?tica de Jean Piaget e da teoria psicogen?tica de Henri Wallon. Acrescentamos no??es epistemol?gicos de Edgar Morin, da teoria da Intelig?ncia Emocional de Goleman, da teoria das Intelig?ncias M?ltiplas de Gardner. Goleman e Gardner contribuem significativamente para a compreens?o do papel da emo??o no processo educacional. Desta forma, investigamos "afetividade e express?o art?stica: como os arte-educadores encaram o papel da arte". O presente trabalho foi desenvolvido mediante pesquisa qualitativa, empregando uma entrevista semi-estruturada. Os dados coletados foram organizados considerando os postulados da T?cnica de An?lise de Conte?do, proposto por Bardin (1987). Ap?s an?lise, emergiram categorias que, sinteticamente, enfocam os seguintes aspectos: a) Arte, Afeto e Sentimentos, em que a Arte ? apontada como um elo de comunica??o entre o mundo interno e o externo, ajudando o indiv?duo a se ajustar ? sociedade e ao seu meio. Assim, a arte ? um excelente meio de comunica??o, humaniza??o e enriquecimento; b) A Pr?tica Pedag?gica como Potencializadora da Manifesta??o de Afeto. Ela sinaliza a import?ncia do ato pedag?gico no fortalecimento das articula??es entre intelig?ncia e afetividade, bem como o significado da arte para que o aluno conhe?a seus sentimentos. Apresentamos o ensino da arte tendo o afeto como base e o ensino da arte como elo entre a cria??o do aluno e seus sentimentos; c) A Arte e a Forma??o Integral do Sujeito. As dimens?es afetiva e cognitiva se influenciam mutuamente, constituindo uma unidade. Merecem, por isso, a mesma aten??o tanto na vida, quanto na escola. Trazemos para a discuss?o a Aula de Artes como uma contribui??o afetiva e cognitiva, que amplia a vis?o de mundo, e o professor de Artes como agente transformador da educa??o. A partir das entrevistas realizadas, constatamos que os Arte-Educadores entrevistados encaram a arte na escola com seriedade e v?em nela um eficaz ve?culo de express?o da afetividade, condi??o b?sica para que a aprendizagem ocorra
SIGARI, DARIO. « Upper Palaeolithic rock art of the Italian peninsula. A general review, reframing it into an Euro- Mediterranean context ». Doctoral thesis, Universitat Rovira i Virgili, 2018. http://hdl.handle.net/10803/670910.
Texte intégralEsta tesis constituye un trabajo sistemático sobre el arte rupestre paleolítico en la península italiana, insertándolo en un debate más amplio a nivel de la región euro-mediterránea y ofreciendo un soporte valido por futuras investigaciones. Once yacimientos han sido seleccionados como casos de estudio principal debido a la riqueza patrimonial y a su importancia a nivel bibliográfico: Balzi Rossi (cuevas de Florestano, Blanc-Cardini and Caviglione - Ventimiglia, Imperia), cueva della Bàsura (Toirano, Savona), cueva delle Arene Candide (Toirano, Savona), y los sitios al aire libre de Luine (rocas No. 6 e 34 - Darfo-Boario Terme, Brescia), cueva di Fumane (Fumane, Verona), abrigo del Romito, cueva Paglicci (Rignano Garganico, Foggia) y cueva Romanelli (Castro, Lecce). Los yacimientos se han analizado desde un enfoque multidisciplinar, introduciendo todos los aspectos relevantes: la geología, la arqueología, la historia de los estudios, la análisis de conservación y la descripción del componente iconográfico, antes de llegar a la valoración y discusión. La revisión de yacimientos ya conocidos ha permitido reorganizar mejor todos los datos a nivel cronológico y de distribución espacial. Además, la nueva propuesta metodológica ha favorecido la introducción, por la primera vez de manera sistemática, de nuevos análisis y variables en el estudio de ese tema: la primera datación con el sistema U/Th y la evaluación geológica de las líneas glaciales en las rocas de Valcamonica. Un enfoque que va mas allá del simple análisis morfológico, dando enfoque diferente sobre el fenómeno del arte rupestre paleolítico en la península italiana. De este modo, se ha podido documentar una gran variabilidad en los temas, en la cronología y en las relaciones con otras áreas, evidenciando posibles dinámicas sociales que están a la base de la difusión de los símbolos, y demostrando cómo la península italiana ha sido “un puente” y no un “cul-de-sac” en el más amplio panorama del arte rupestre paleolítico de la región euro-mediterránea.
This thesis manuscript is a systematic work on the Palaeolithic rock art in the Italian peninsula including it into a wider debate involving the Euro-Mediterranean region, and offering a valid support for further researches in this field. Eleven sites were selected as main review cases, according to their richness and significance from a bibliographic point of view: Balzi Rossi (Florestano, Blanc-Cardini and Caviglione caves - Ventimiglia, Imperia), Bàsura cave (Toirano, Savona), Arene Candide cave (Toirano, Savona), Luine open air rock art sites (Rocks No. 6 and 34 - Darfo-Boario Terme, Brescia), Fumane cave (Fumane, Verona), Romito shelter, Paglicci cave (Rignano Garganico, Foggia) and Romanelli cave (Castro, Lecce). The sites were separately discussed adopting a multidisciplinary approach introducing all the relevant aspects, the geology, the archaeology, the history of the studies and the preservation analysis, before getting to a final discussion of the rock art evidence. The review of the already known sites has permitted to better re-arrange all the data, in terms of chronology and spatial distribution. Moreover the new methodological proposal let introduce for the first time in systematic way a series of analysis and variables in the study of this topic, e.g. the first U/Th dating, the geological evaluation of the glacial lines on the Valcamonica rocks. An approach which goes beyond the mere morphological analysis, casting a different light on the rock art phenomenon during the Upper Palaeolithic in the Italian peninsula. So it was possible to notice a high variability in the rock art themes, in its chronology and in the relationships with the other areas, highlighting possible social dynamics occurred which are the cause of the symbol diffusion, and showing how the Italian peninsula was a bridgehead and not a dead-end in the wider panorama of the Palaeolithic rock art of the Euro-Mediterranean region.
Almeida, Flávio Fernandes de [UNESP]. « Autocrítica de arte ou a última camada de verniz ». Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86997.
Texte intégralUniversidade Estadual Paulista (UNESP)
O artista consciente do seu papel na sociedade – na qual vive e produz – pode e deve ser o primeiro crítico de suas obras. A análise de sua própria práxis, inserida no panorama artístico contemporâneo e, ao mesmo tempo dialogando com o legado da visualidade na pintura, contribui para a elaboração desta reflexão: as técnicas e os temas, os materiais e suportes adotados, refletem as suas escolhas, os processos e os procedimentos a sua poética. A reflexão resultante da compilação de teorias da arte pertinentes ao objeto também buscou nos discursos dos artistas – correspondência , notas, depoimentos e escritos em geral – as bases par s sua elaboração. Escolhidos por afinidade de gosto ou estilo, artistas como Cézanne, Van Gogh, Gauguin e Matisse – além dos brasileiros Rubens Gerchman e João Câmara – têm seus escritos e reflexões sustentado e elucidando suas poéticas. A crítica – neste caso, a autocritica – é apresentada como uma parte integrante da obra de arte comparada numa metáfora ao toque final dado pelo artista numa pintura: a demão de verniz.
The artist conscious of his role in the society – in which he lives and produces – can and must be the first critic of his artistic works. The analysis of the praxis that is inserted lin the contemporary artistic scene and, at the same and at the time, dialoguing with the legacy of the visuality in the painting contibutes to the elaboration from this reflexion the tecniques and the themes, the materials and adopted supports, reflect their choices, the processses and procedures; its poetic. The reflection, resulting from the theories compilation of the art pertinent at the object, also looked for in the artists discourse – correspondences, notes, depositions and writings in general – the bases for its elaboration. Chosen by afinity or style artists like Cézanne, Van Gogh, Gauguin and Matisse – beyond the brazilians Rubens Gerchman and João Câmara – have their writings and reflections sustainning and elucidating their poetics. The critic – in this case, the self-criticism – is presented as an integral part of the art work, compared in a metaphor to the final touch given by the artist in a painting the varnish coating.
Rodolpho, Patrícia. « A fotografia urbana contemporânea : uma herança das imagens da cidade (1960-1990) ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284545.
Texte intégralTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-22T21:17:49Z (GMT). No. of bitstreams: 1 Rodolpho_Patricia_D.pdf: 6140685 bytes, checksum: f32faf786db07726c8d175211115f4ae (MD5) Previous issue date: 2012
Resumo: Esta tese trata sobre a imagem da cidade na fotografia urbana contemporânea, considerando-a como uma herança das tradições de representação da cidade que se desenvolveram após o advento do dispositivo fotográfico, na primeira metade do século XIX. Neste sentido, objetiva-se estabelecer a relação entre os campos de conhecimento da Arte e da Fotografia a fim de compreender os desdobramentos da construção de uma representação fotográfica da cidade, sobretudo entre as décadas de 1960 a 1990. Com esse propósito, discute-se a noção de fotografia contemporânea, uma categoria que, apesar de ainda indefinida, está presente nas abordagens realizadas pelos pesquisadores que constituem o referencial teórico analisado. Em especial, investiga-se o interesse, por parte de artistas e fotógrafos alemães e norte-americanos, de uma aproximação visual com elementos geralmente qualificados como banais triviais ou ordinários do cotidiano urbano
Abstract: This Thesis disserts on city images in urban contemporary photography as a heritage of the city representation tradition, developed after the advent of the photographic device in the first half of the 19th century. Our objective is to establish the relationship between the knowledge of Art and Photography to understand the evolving of the photographic representation of the city, mainly between the 1960's and the 1990's. With that in mind, the concept of contemporary photography is discussed. The category, although still undefined, is present in the researched bibliography. The interest showed by German and North American photographers and artists in a visual approach to elements usually considered trivial or ordinary in the urban day to day was particularly investigated
Doutorado
Artes Visuais
Doutora em Artes Visuais
Nannini, Priscilla Barranqueiros Ramos. « Ilustração : passeio pela poesia visual / ». São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86984.
Texte intégralResumo: O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
Abstract: The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
Mestre